Standard weight slide, some minor evidence of dent removal on slide crook, F att. crook, and on bell. Slide, tuning slides, and rotor all move properly with no resistance, hanging, etc. Instrument will be cleaned and serviced before purchase. Comes with Bam case that was bought new when I purchased this instrument.

The horn was bought used in August 2015 from a forumite named Kyle Snuffer (don't know his forum name, but know that I contacted him through a posting here). Since then it has been lightly used and well maintained - mostly Easter/Christmas and a few sub gigs here and there.

Nice instrument - just don't have much use for it at the moment and could use the cash. Email in my profile. Looking for somewhere in the realm of $2000. Offers accepted.

+1. These are guitar/violin wall display hangers...I wonder why a wind instrument company would use this. One would rather thing that they should rather have in stock appropriate brass instrument display hangers, crooks etc....

Woodwind/Brasswind, Guitar Center, Musician's Friend, Music123, Music & Arts, etc. are all the same company. Probably have some poor guitarist in a room someplace tasked with taking pictures of all the B-Stock items.

I did a short run of this show a couple months back. REALLY fun show with some difficult spots. I played the lead book which has a lot of high Bb's and C's, and a fair scattering of Db's and D's that need to be strong and clear. There are also some optional E's, F's, and F#'s above that, mostly at the ends of tunes. Articulation and style are crucial.

I played a King 3BF with a 7C. You won't really need the trigger, but it makes the few moments where you're playing at the bottom of the staff easier.

Doug mentioned he wasn't sure if you need a plunger - you do, but only for a handful of measures.

You had an Edwards tuning slide cut? Wow! The Edwards/Getzen horns always seem to pull out more than any other horn for me!

True! I used to own a Getzen 1052 and I had to pull the slides so very far to get the horn into tune.

Thanks everyone for your responses! Glad to know that I'm not alone in this and that it's a straightforward job. I've got a great repair tech here in Albany that I trust to do the work, but I wanted to know exactly what I was getting into before I gave him the go-ahead.

You'd think after so many years, Bach would have heard about this from the players and adjusted their designs?

I've done some searching and found a few bits of information here or there about this procedure, but nothing substantial that discusses the work done. I've spoken with a few repair techs about this and was hoping the folks here could provide some more insight.

I own a Bach 50A (indy, Wick 1AL) and 42A (Wick 4AL) and love the way the horns play. BUT. They play in tune (440) with the tuning slide approx. 1/8" to 1/4" out, and that has given me trouble in ensembles that tend to become sharp as I have no room to adjust and match their pitch center. I would like to shorten the horn in some way to fix this. Seems like this is a common issue on Bach horns.

From what I gather, the most effective way to shorten the horn is to shorten the tuning slide legs and not the crooks. Repair techs - thoughts on this?Should I have this done, or just find different horns that suit my tuning needs better?Are there other factors at play here that I could adjust to fix this issue?

Not sure if this is the right place for this - if not, Mods please feel free to move the topic.

I was wondering if anyone here has any experience starting a local chapter of the ITA (International Trombone Assoc.) in their area or something similar? I've been considering starting one for the Capital and Adirondack regions of NY and would like to get some thoughts, feedback, suggestions etc.

I can think of a range of possible activities that would be beneficial to the group, the trombone community, and the ITA:-Reading sessions/concerts/recitals-Masterclasses/clinics-Regular meetings/networking-Contribution of material to the ITA Journal-Community/school outreach-Instrument trial sessions via local music companies-New commissions, etc.

I've been interested in this for some time now - glad to see it showing up on here!

I've noticed that I feel that same break on the instrument as well, though it's a bit more stable than mouthpiece only. Do you think there's some change that could be made in the design on the mouthpiece/horn that would make this more secure without sacrificing playability in other ranges of the horn?

And don't forget, modern orchestral and wind band rep is no walk in the park! I had more examples but that music was turned in before I got to scan it. However, I did grab this-

160 for the quarter. No fun on a double (at first anyway), much less fun on a single. For instance, here are the positions I used- 6-1-2-5-4-5-6-2-1-5-4-1-5-6. Too many large position jumps, though some of it lays alright on the horn. Again, thanks previous user for the incorrect position markings (not that I look at them anyway!). Of course, this repeats at the end down a whole step.

I'm aware this is quite an old topic - apologies if I cause any problems by bringing this back to life. I came across this thread while browsing for some info about Bozza's New Orleans and wanted to chime in on something that I've been working at: making better use of the longer valve positions to improve technical facility. For example:

Using the third (C) partial on the F side of the horn for notes like Bb, A, Ab, and G. In some cases like the excerpt above, it could have the potential to make this line much easier in terms of slide movement. For example, playing the first Bb and A in trigger third and fourth, then the Ab and G in trigger fifth and sixth would greatly reduce (and in some cases almost completely eliminate, Db to Ab) slide movement in the opening measure. Using the trigger for the G natural and then playing the B in seventh in the second measure might also make things a bit smoother. Of course, using those positions with the E pull becomes much more difficult unless you're very well-practiced on the E tuning.

I'd be interested to hear from others on their thoughts about using the trigger for these notes. There's the eternal struggle to make these notes match the timbre and articulation of the Bb in first, A in second, etc. and then there's tuning... But! They can really be useful in technical passages like the one above.

Accepting applications for Fall enrollment at the Université de Montréal.

-Bachelor's, Master's and DMA level programs in the lively, cosmopolitan city of Montreal.-Low tuition fees. -Preparatory year for non-French speakers in the Bachelor's program (with lessons).-Papers can be submitted in English.-One year master's level diplomas in solo repertoire or orchestral performance.-Excellent orchestra, repertoire classes and intensive audition training.

Above is a video of Denson Paul Pollard's warmup from the DBTO. Skip to about four minutes in for his breathing warmup - certainly is not the same as aerobic exercise for a few hours, but I find it helps to relax/stretch out those parts of the body used in deep breathing. Might help you achieve similar results.

With that said, it seems to be fairly common for very successful low brass players to include some form of cardio in their daily routine - Lindberg runs marathons among other things, Bobo and Charlie Vernon swim, etc. I'd be interested to hear from some other pros on this subject.

So what you need to do is sit on a note and slowly lip up and down a tiny bit, listening hard for where it responds best. That is not easy to find at first, this takes some work. Then you try to reproduce that sound and/or feel while playing. You also have to improve the accuracy of slide placement because it does no good to buzz the right pitch and have your slide an inch off.

This is by far the best way to find the center of the note and, as a result, the most resonance. I'll play a note, then lip it down a half step and slowly bring it back to pitch - do this a few times and you'll feel a point where your tone is full and very resonant and the note blows very easily. Strive for that sound and feeling on every note. This is also helpful if you tend to overblow and play on the sharp side.

This exercise combined with singing, then buzzing the mouthpiece, then playing has done wonders for my tone and ease of playing.

The largest I'm aware of that comes in a small shank is a Bach 5 or something similar from a different brand. If that's not large enough, you can find a small-to-large shank adapter and use a bass mouthpiece, though at that rate you're probably better off with a large bore horn.

You've got to have a great sound, great musicality/interpretation skills, great technique, great ensemble skills, etc. It's all got to be good and the things that aren't so good for you and for your goals are the things that you should be working on.